Art thoughts

Frank Stella

Recent Work
To June 22
Marianne Boesky Gallery
New York

Frank Stella installation at Marianne Boesky Gallery

‘Stella combines interlocking grids with more fluid and organic lines, creating a dynamic interplay between minimalist and gestural visual vocabularies.’ Excerpt Marianne Boesky Gallery website

Ruth Root

Forum 81

Curated by Eric Crosby
April 19 - August 25, 2019

Carnegie Museum of Art

Pittsburgh, USA

Installation photo courtesy of the artist, Carnegie Museum of Art

Untitled, 2017, Fabric, Plexiglas, enamel paint, and spray paint, 50 1/2 x 75 in (128.3 x 190.5 cm)
Andrew Kreps Gallery NY

Carnegie Museum of Art (CMOA) debuts a new body of work by American painter Ruth Root (b. Chicago, 1967) in the 81st installment of its Forum series dedicated to contemporary art. With a jolt of pattern and shape, Root’s eccentric paintings dazzle and perplex with their play of geometry, color, and found images. These new works are composed of two parts involving a shaped panel painted with acrylic and spray paint suspended from a flexible sewn form covered with the artist’s own fabric designs. Incorporating found imagery from news media, art history, online search engines, and objects from CMOA’s own collection... ‘ excerpt CMOA website

Angel Alonso

Angel Alonso, 1923-1994. Spanish/French
Solo exhibition, Art Paris 2019

Selected works from the artist.

White Tear on Red Background, mixed media on board, 57 x 47.5 cm.

Untitled, 1988, mixed technique on wood, 96 x 48 cm.

Untitled, 1994, Mixed media on wood panel, 24 × 36 cm.

Link, mixed media on cardboard, 24.5 x 20 cm.

Marlene Sarroff

365 Days: You get what you choose

To April 23
BSA Project Space
Mullumbimby NSW

An installation of 365 works created over 365 days.

Installation at Byron School of art

From 'You get what you choose', Byron School of Art.

‘The result is a culmination of a disciplined daily practice of making an artwork everyday, incorporating a multi-media process, combining Social Media, Technology and Art. Instagram is an important component in the creation of the project, the works were posted daily. Each day is different and presents a spontaneous creation pertaining to the day of the artist.

The work is made from a diverse range of found things. It is an investigation of the ordinary from the perspective of the found - be it the rejected, the disposable, the overlooked that becomes an intrinsic part of the creative process and through the method of Assemblage the work is created.’ Excerpt artist statement Marlene Sarroff 2019.

Raymond Carter

An Imaginary Constellation
03.04.18 – 20.04.18
Five Walls Projects

1/119 Hopkins St., Footscray

Installation detail: ‘An Imaginary Constellation’installed at Five Walls. Medium: tape on MDF board.

‘An Imaginary Constellation describes the illusion of a connection between groups of separate objects. Constellations were the creation of schematic patterns by linking stars of varying sizes, colours and brightness. Constellations appear to travel across the sky according to the movement of our planetary circuit and their location was seasonally specific...

In my multi-panel installation, I have made an Imaginary Constellation exploring interactions between the coloured highlights and the repeated alternating vertical and horizontal background pattern. The radiating coloured lines combine to form diagonal grid-like array apparently randomly scattered across the field. Based on pattern and chance relationships the constellation can be viewed as a positive or negative schema.’ Excerpt Raymond Carter, 2019

Louise Blyton, Ted Larsen

Louise Blyton

‘All the birds are singing’

Ted Larsen

‘Future Living in Yesterday’s Tomorrow’

Joshua Liner Gallery

To May 4

New York

Louise Blyton, Volcanic Sigh, 2018, Pigment on linen, 20 x 18 x 18 inches.

Opening shot by artist Suzan Shutan.

Ted Larsen, Horse Fly, 2019, Salvage steel, plywood, silicone, vulcanized rubber, 11 x 8 x 6 1/8 inches.

David Serisier

‘Big Gold Monochrome’
20 March - 9 April 2019
Liverpool Street Gallery
Sydney

Gold painting 1, 2018, oil and wax on linen, 200.5 x 200.5 cm

‘Continuing his exploration of colour, Serisier’s latest exhibition is very much about painting. Using a palette of golds, silvers, black and pink, the metal rich paints deliver an effect that is both concrete and ephemeral, object and void. The large format remains at heart of any Serisier exhibition, as the title attests, with fields of colour broken as the layers of paint are built to create a shifting surface of light and texture. Returning to his earlier heavily textured approach, a series of smaller works rich with thick layers of dense colour are invested with inscribed staccato gestural marks.’ Liverpool Gallery website

Pink square painting, 2019, oil, wax and acrylic on linen, 30.5 x 30.5 cm

in situ image, Liverpool Street Gallery FB.

Matisse and Diebenkorn

‘Matisse/Diebenkorn’
2016-7
Museum of Baltimore

SFMOMA San Fransisco

Installation view of “Matisse/Diebenkorn”, 2016–17, L-R, Diebenkorn, 1972, Ocean Park #5,
Matisse, 1914,View of Notre Dame at the Baltimore Museum

Featuring 100 works by the two artists this exhibition explored the inspiration Richard Diebenkorn found in the paintings of Henri Matisse. Consideration of Matisse’s use of colour and subject matter are evident in Diebenkorn’s earlier work while the lineal and saturated field of Mattise’s abstraction ‘View of Notre Dame’ 1914 influenced Diebenkorn’s most celebrated ‘Ocean Park’ series.

Diebenkorn, 1969, Ocean Park #24

Matisse, 1914, View of Notre Dame

Acknowledging influence

Tapies and Le Corbusier

I stumbled upon this tapestry designed by Le Corbusier. I immediately thought of Antoni Tapies. I studied Tapies extensively and have read a lot of his text. All the pictorial elements that Tapies utilised seem present in the Le Corbusier. These include the open field and scale, reference to the human figure, loose and open line work and surprising layers or blocks of colour to create innovative compositions. I consider both among my favorite artists so it is interesting to discover this connection.

Le Corbusier, Les Mains, 1951, tapestry in situ

Tapies, Les quatre cròniques, 1990.

Le Corbusier, Les Mains, 1951, tapestry.

Tapies, Les quatre cròniques, 1990.

All artists are influenced by others. Richard Diebenkorn based his Ocean Park series on a work by Henri Mattise, View of Notre Dame, 1914.

Shades of Grey 2019

curated by Charles Justin (JAHM)
Artists: Louise Blyton, Caroline Collom, Matthew Engert,

Andrew Gutteridge, PJ Hickman, Max Lawrence-White,

Aaron Martin, Suzanne Moss, Yuria Okamura, Hayley Scilini, Beverley Southcott
Tacit Art Galleries
Melbourne
To March 10

Aaron Martin install photo

Andrew Gutteridge

Hayley Scilini install photo

PJ Hickman install photo

Louise Blyton install photo

Max Lawrence-White install photo

‘Justin chose to focus on artists who are part of the JAHM collection, many of whom are early career artists and whose practices explore the themes of abstraction.’ Tacit website.

Justin Art House Museum https://www.jahm.com.au/

Heinz Boeck

A recollection of symmetry
a survey exhibition
YARRA SCULPTURE GALLERY
To March 24
Melbourne

installation photo Heinz Boeck

Heinz Boeck son of a pirate 2017, wood, steel, wood, plastic and concrete bricks..

Miranda Skoczek

Suggesting Icons
Nicholas Thompson Gallery
Melbourne
To March 3

The Etruscans and the afterlife 2018 oil on linen 168 x 122 cm.

Installation photo Miranda Skoczek.

All the things you are 2019 oil and acrylic on linen 40 x 50 cm

Michael Cusack

Michael Cusack
No history but in things
Olsen Gallery

Sydney

To March 17

Figure head 2019, mixed media on poly cotton, 168 x 137 cm.

Iceblink 2019, mixed media on board, 144 x 96.5 cm.

Capital Theatre

Found sign, Presgrave Place. Capital Theatre, Swanston Street, Melbourne, architects Walter Burley Griffin and Marion Mahony Griffin 1924.

Found sign Capital Theatre

Presgrave Place, Melbourne

Capital Theatre Ceiling

I remember the ceiling of the cinema in the 1970s. It had alternating pale green and pink lights shining on the facets heightening the three dimensional effects.

Robert Ryman

‘... one of the most important American artists to emerge after World War II, a Minimalist who achieved a startling non-Minimalist variety in his paintings even though they were mostly white and usually square, died on Friday at his home in Greenwich Village in Manhattan.

... Mr. Ryman preferred the square, he said, because it avoided representational suggestions of doors, windows and landscapes. His works could be small squares of stretched canvas alive with fat, juicy, commalike strokes of oil paint. They could be pieces of cold-rolled steel, four feet square, brushed perfunctorily with a thin matte enamel. They might feature thick, methodical horizontal bands of shimmering white with slivers of brownish raw linen glinting between them, a little like plaster and lath.’ New York Times, Feb, 10, 2019.